Originally Posted by Udvarnoky
-Hire a new screenwriter.
-Go exclusively for fresh faces with the sidekicks and villains.
-Keep Indy out of America, if not the entire western hemisphere.
-Film on location where it would improve the film's sense of scope.
-Make Indy's proximity to the grave a thematic hook, and tie his mortality in with the artifact.
-Design the story as Indy's last hurrah.
-Generate an earned sense of awe and intrigue.
-Bring back sadistic bad guys.
-Bring back a sense of danger and spookiness where appropriate.
-Bring back the cliffhangers.
-Bring back the scenarios of Indy having to get out of an impossible jam by doing something clever or desperate.
-Let Indy be proactive when he has a clear opportunity to be so.
-Have a new Indy Girl despite Indy being married. Let the lack of romantic potential be an opportunity to put a new spin on the concept.
-Throw in a single line that comically explains away Indy's Marshall College/Barnett College flip-flop for the benefit of Raveners.
-Have Indy lose an eye by the end.
-Introduce subplots that you have no intention of paying off.
-Introduce characters you have no use for.
-Introduce a badass vehicle attached to spinning blades that you're going to immediately discard.
-Have Indy willfully helping the villain the whole way through.
-Overly complicate Indy's motivations for embarking on the adventure.
-Use a promotional still for the portrait of a dead character.
-Retcon backstories for the sake of it.
-Cut from the teaser to the establishing shot of the college. Remember we're not in America this time.
-Reprise a musical cue from a different movie to cheaply evoke feelings your own story failed to elicit.
-Allow Kaminski to do whatever he did to make the fourth move look like that.
-Destroy any sense of immediacy that your real stunts and locations might well have created before the unnecessary CGI in combination with the above conspired to make it all look like green screen work.
-Give any other character the equivalent of Ford's screentime. This is his finale.
-Feel obligated to sum up the culture of the decade the story takes place in.
-Reprise Mutt or Marion. Acknowledge them and let us know that Indy is happy with his family, but nothing more is required because after all, he's not in America this time.
-Give your characters awareness that they're in a movie and protected by plot armor by having them gleefully drive off cliffs.
-Castrate your lead villain by having him or her stand there and watch patiently as their captives finish quipping at each other.
-Just let things resolve on their own when there's an opportunity for the characters to work for it.
-Spend any amount of time setting up the reboot. Let the reboot handle the reboot, and make the fifth movie the final adventure of Harrison Ford as Indiana Jones. No cross-pollination.
Excellent. Can we mail this Steven and Koepp?